Australian Cinema, Genre and the Everyday
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Extraordinary Undercurrents: Australian Cinema, Genre and the Everyday Submitted for the Degree of Doctor of Philosophy by David Thomas School of Media, Communication and Culture Murdoch University 2006 Declaration I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. _ _ _ _ _ _ _ _ _ _ _ _ David Thomas 8 June 2006 ii Copyright © June 2006 David Thomas iii Acknowledgements It seems that most of the colleagues and friends I have made at Murdoch University are in agreement: despite the best intentions, completing a project like this involves continuously unpredictable cycles of productivity, frustration, successes, and failures. It has occurred to me, on occasion during the less enjoyable of these cycles, that any material of genuine worth appearing within the following pages must either be pure luck, or the result of the input of a wiser person. With that in mind, I would like to thank my supervisor, Dr Garry Gillard, for his extraordinary patience, expertise, and personal and professional support during my candidacy. Our lengthy and rewarding association has not been solely about the production of a dissertation however, and thanks are also due to Garry for his guidance in relation to my endeavours with teaching, and writing for publication. I would also like to acknowledge the work of the administrative staff in the School of Media, Communication and Culture, and in the Division of Research and Development at Murdoch University, including Karen Olkowski, Anne Randell, Hollie Cavanagh, Lyn Dale, Sylvia Rosenstreich, Georgina Wright and Priya Krishnan. Finally I must express my gratitude to my immediate family, for the varied and often complicated logistical maintenance I have required since my birth, and to my wife, Angela, for her apparently (hopefully) endless supply of tolerance towards a largely intolerable human. iv Contents Declaration................................................................................................................ii Acknowledgements .................................................................................................. iv Contents .................................................................................................................... v Abstract...................................................................................................................vii Introduction............................................................................................................... 1 Chapter One - Cinema, Culture and Transgression................................................... 12 A Brief History of Horror and its Social Dimensions ........................................... 15 Disruption of the Social Order ............................................................................. 22 Genres, Intertextuality and Transgression ............................................................ 26 Cinema and Culture ............................................................................................. 29 Social Contexts and Theoretical Intersections ...................................................... 33 Chapter Two - The Myth of the Australian............................................................... 41 Landscape, Identity and Nation............................................................................ 44 Mythical Australian Identities.............................................................................. 49 Cinema and Australian Identity – Walkabout and Wake In Fright ........................ 56 The Cars That Ate Paris, Sunday Too Far Away and Long Weekend................... 66 Chapter Three - Destabilizing the Social.................................................................. 78 The Social Issues Film and the Suburb................................................................. 80 The Physical and Ideological Suburb ................................................................... 82 The Suburb as a Site of Resistance....................................................................... 88 Social Decay and Australian Cinema ................................................................... 93 The Night the Prowler, The Plumber, and Bliss.................................................... 94 Tom White, Bad Boy Bubby, and The Boys ...................................................... 100 Chapter Four - The Boundaries of Horror .............................................................. 109 The Basic Oppositions of Horror........................................................................ 111 Narrative Content and Social Comment ............................................................. 113 Self/Other, the Abject and the Familiar .............................................................. 117 The Embattled Self and the Postmodern............................................................. 125 Australian Horrors ............................................................................................. 130 Visitors, Wolf Creek, and Lost Things ............................................................... 134 Chapter Five - Australian Science Fiction: Resistance is Futile.............................. 146 Horror and Science Fiction ................................................................................ 149 Science Fiction and the Cultural Milieu ............................................................. 153 The Fantastic, Cinematic Spectacle and the Postmodern .................................... 155 Australian Examples and One Night Stand......................................................... 160 Incident at Raven’s Gate, As Time Goes By and The Time Guardian................. 165 Mad Max and Dark City .................................................................................... 175 Futile Fictions.................................................................................................... 184 Chapter Six - Criminal, Outlaw, Larrikin ............................................................... 186 The Criminal Character...................................................................................... 190 v Crime and Authority – Bandits and Outlaws ...................................................... 192 Ambivalence, Suspense and Moral Alternatives in Australian cinema................ 197 The Criminal Character and the (social) Outlaw................................................. 207 Chapter Seven - Undercurrents and Genre in Australian Cinema............................ 218 Undercurrents: Tracking Threads of Resemblance ............................................. 222 Undercurrents, Genre and Nation....................................................................... 235 Australian Genres and Australian Cinema.......................................................... 239 Conclusion - Extraordinary Undercurrents............................................................. 242 Bibliography.......................................................................................................... 251 Books ................................................................................................................ 252 Journals, Newspapers and Periodicals................................................................ 264 Dissertations/Theses .......................................................................................... 267 Websites............................................................................................................ 268 Motion Pictures ................................................................................................. 268 vi Abstract ‘Extraordinary Undercurrents: Australian Cinema, Genre and the Everyday’ investigates how the critical uptake of genre-based cinema has been incorporated into the cultural and industrial rubric of Australian national cinema. The thesis offers, in part, a revaluation of theoretically under-emphasized texts (as well as texts that have been the subject of much higher levels of scrutiny), in order to establish recurrent threads within Australian cinema. In doing this, the thesis offers new and original knowledge in the form of developing a perspective for a revised critical and theoretical analysis of genre cinema within Australian cinema, challenging the presumption of the kinds of texts that can be seen as articulating the nation. The groups of films examined herein form nodes through which a network of important and divergent ideas about nation, national identity and social organization come together in the form of narrative and thematic undercurrents. These (generally malevolent) undercurrents are articulated in the filmic representation of a range of conventional personal, social and cultural dichotomies, and of particular interest are the events, characters and narratives in which the everyday is confronted by the abstract, abject and uncanny. The undercurrents I identify are shown as the textual sites in which transgression - both inside and outside the frame - and intertextuality are collocated, representing the convergence of material which simultaneously operates outside of genres, while reinforcing textual similarity. The undercurrents I identify provide a theoretical direction in analysing interaction between national cinema, culture and identity. vii Introduction The Proposition (John Hillcoat, 2005) 1 Alas, I came to this beleaguered land, and